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Bach: Cello Suites 1, 3, 5


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Bach: Cello Suites 1, 3, 5 + Schubert: Piano Sonatas:  No. 16 in A Minor D845 & No. 21 in B Flat Major D960
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Product details

  • Conductor: .
  • Composer: J.S. Bach
  • Audio CD (11 Feb 2013)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naive Classique
  • ASIN: B009ETI3ZW
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 63,058 in Music (See Top 100 in Music)

1. Prelude
2. Allemande
3. 1st Courante
4. Sarabande
5. Menuets I and II
6. Gigue
7. Prelude
8. Allemande
9. Courante
10. Sarabande
11. Bourrees I and II
12. Gigue
13. Prelude
14. Allemande
15. Courante
16. Sarabande
17. Gavottes I and II
18. Gigue

Product Description

Product Description

Considered as one of leading viola players worldwide, Antoine Tamestit decided to record Bach six Suites BWV1007-1012, in two volumes. This first volume presents Suites 1, 3 and 5 These universal and fascinating works have been Tamestit s favorites almost for ever and those that made him switch from the violin to the viola when he was 10 years old! Tamestit s playing and the exceptional sound of his Stradivarius shed new light on those eternal masterpieces as he continues to develop an intense career through concerto, chamber and solo performances. 'When I discovered Bach's Cello Suites at the age of ten, they were such a revelation to me that I asked my violin teacher of the time if I could change instruments and switch to the cello. Having convinced me that, in that case, I would have to relearn virtually the entire technique of the instrument, she had the idea of showing me a viola and playing it for me. Another revelation, and love at first sight! After just a few days I put viola strings on my little violin, which sounded so deep, especially on the C string, that I felt the vibrations through my whole body. Since then I have never regretted choosing the viola, especially as I very soon had the opportunity to play transcriptions of those very Cello Suites. It was such a joy to me that I spent weeks just playing by ear a few bars of certain movements and begged my teachers to let me work on them.' Antoine Tamestit

Review

mind-blowing virtuosity (and a warm, richly-toned instrument), Tamestit s Bach is lighter than you will ever have heard it before ... he is able to shine new light on the detail ... breathtaking renditions --Brian Clark, Early Music Review April 2013

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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By J Scott Morrison HALL OF FAMETOP 100 REVIEWER on 27 Mar 2013
Even though I knew Antoine Tamestit was one of the best violists these days, I was unprepared for the unalloyed joy this recording brought me. Familiar through many years with Bach's Cello Suites, I don't recall ever hearing them on viola. The arrangement for viola keeps the pieces in their original keys but an octave up from the cello originals; the viola's strings are tuned to the same pitches (C G D A) but are each an octave higher than the corresponding cello strings. This difference makes the pieces sound considerably different than the originals. The most obvious thing for me is that the suites, made up as they are mostly of dances [prelude, allemande, courante, sarabande, minuet and gigue] do seem more lively, more exciting, more youthfully ebullient. Add to this Tamestit's absolutely secure and sensitive playing, and you have a marvelous listening experience. The usual impression with cellists that these are extraordinarily difficult pieces to play is absent in Tamestit's viola version, allowing one to pay attention to the music rather than the player's physical struggle.

Tamestit plays a Stradivarius viola (the 'Mahler') one of only about six that Stradivari made. In Tamestit's hands it make a glorious sound. He also uses a modern baroque-style bow.

A word about the packaging. Each of the pairs of facing pages of the booklet is printed in a different color. Text on some of those pages, particularly the ones in yellow, is almost impossible to read. Further, the translation of Johann Mattheson's 18th-century explication of the dance forms is needlessly artsy and obscure. But Tamestit's little article about how he fell in love with the viola as a youngster is touching.

This one is definitely a keeper. (It will immediately be placed on my iPod, perhaps my highest accolade.) I eagerly await a second volume that presents Suites 2, 4 and 6.

Scott Morrison
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1 of 1 people found the following review helpful By schumann_bg TOP 100 REVIEWER on 10 Mar 2014
This disc contains beautiful playing by Antoine Tamestit. You do not miss the cello and if anything he has added something by giving us this higher version to set against the deeper register. The works sound marvellous and it is good to see the viola catching up more and more with the violin and cello as a solo instrument - it's certainly long overdue since Berlioz initially set the ball rolling ... Let's hope the other three follow; I'd love to hear the grandeur of No. 6 as played by Tamestit.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 1 review
2 of 2 people found the following review helpful
***** Stunning! 27 Mar 2013
By J Scott Morrison - Published on Amazon.com
Even though I knew Antoine Tamestit was one of the best violists these days, I was unprepared for the unalloyed joy this recording brought me. Familiar through many years with Bach's Cello Suites, I don't recall ever hearing them on viola. The arrangement for viola keeps the pieces in their original keys but an octave up from the cello originals; the viola's strings are tuned to the same pitches (C G D A) but are each an octave higher than the corresponding cello strings. This difference makes the pieces sound considerably different than the originals. The most obvious thing for me is that the suites, made up as they are mostly of dances [prelude, allemande, courante, sarabande, minuet, bourrée, gavotte and gigue] do seem more lively, more exciting, more youthfully ebullient. Add to this Tamestit's absolutely secure and sensitive playing, and you have a marvelous listening experience. The usual impression with cellists that these are extraordinarily difficult pieces to play is absent in Tamestit's viola version, allowing one to pay attention to the music rather than the player's physical struggle.

Tamestit plays a Stradivarius viola (the 'Mahler') one of only about six that Stradivari made. In Tamestit's hands it make a glorious sound. He also uses a modern baroque-style bow.

A word about the packaging. Each of the pairs of facing pages of the booklet is printed in a different color. Text on some of those pages, particularly the ones in yellow, is almost impossible to read. Further, the translation of Johann Mattheson's 18th-century explication of the dance forms is needlessly artsy and obscure. But Tamestit's little article about how he fell in love with the viola as a youngster is touching.

This one is definitely a keeper. (It will immediately be placed on my iPod, perhaps my highest accolade.) I eagerly await a second volume that presents Suites 2, 4 and 6.

Scott Morrison
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